Young performers shine in mischievous opera comedy
ALTHOUGH described as a semi-staged production, this Cenerentola from the UCT Opera School has imaginative touches (such as 30 pairs of glamorous shoes arrayed like footlights), and appropriate costumes and props, which create the impression of a full staging.
A plus of this concert-style presentation is the visible unanimity of vocalists and musicians together on stage under the baton of Jochen Rieder, who elicits committed performances from both. The UCT Symphony Orchestra tackles Rossini’s vivacious overture with requisite brio, with strings energetic in capturing the spirit of mischief that bubbles under the surface of the score.
Thereafter comedy reigns with the appearance of Cinderella’s step-sisters in eye-offending pyjamas. Ipeleng Kgatle (Clorinda) and Jacobi de Villiers (Tisbe) join forces to offer a duet in which mezzo and soprano complement one another with fluent sweetness.
Enter Angelina, aka Cinderella (Sophia), whose looks and voice make her an ideal choice for the eponymous lead. Her projection sometimes falls short of audibility above orchestral accompaniment, but as her performance warms this becomes less frequent – and her characterisation is excellent.
Hallam, as Prince Ramiro, commands the stage with his presence and personality. His clear tenor is not always comfortable at the top of his register, but he offers a proficient delivery of his arias, and shows to best advantage in expressive duets with Sophia.
Mkhize combines a powerful voice with a keen sense of comedy as Ramiro’s servant masquerading as the master; Kubheka shines as the abusive Don Magnifico, his resonant bass effortlessly filling the auditorium; and George Stevens puts in a cameo performance of distinction as Alidoro, tutor to Ramiro and an unlikely substitute for the fairy godmother who puts everything right in the end.
The chorus gives a good account of itself when required.